25 km/h

While contemporary French comedies work with plots about how the old French find it difficult to assimilate into contemporary society, and they make films in the Czech Republic about the problems of being stuck in relationships, in Germany, judging from recent comedies, the biggest quagmire there seems to be the secure forty-something who is oblivious to life because of his constant work. But while the comedy of professional workaholics, the Japanese, usually involve at least one hilarious rape, seashells for nipples, and a gallon of blood on an octopus, in Germania they cope with the kanban by going for a summer ride on motorbikes and that's it. 25 km/h doesn't even try to make a joke, it's just a collection of heartwarming situations that, thanks to the background music, are always safely recognizable by how reminiscent they are of commercials for fruity summer beers. As entertainment, you can at least count the cameos of actors like Alexandra Maria Lara, Sandra Hüller, Jella Haase, Mateusz Kościukiewicz, and Franka Potente throughout the film, but I was probably most impressed by the unintentional portrayal of the German countryside as a kind of exuberant post-apocalyptic landscape, where you hardly meet anyone on the roads and where small towns are left behind by the wives and relatives of those who are making big bucks in multinational corporations somewhere far away in Asia. But the overall message of the film "try everything and continue to be nothing" is universally repugnant to me. (08.04.2020)